teaching > architecture

I began teaching Design Studio as a guest lecturer at Universidad Simón Bolívar, Venezuela, in 2000. After many years in practice, I joined Universidad Simón Bolívar in 2008 as Lecturer of Theory and History of Architecture, and Visual Arts and Graphic Expression for the Department of Design, Architecture and Visual Arts. I received tenure in 2010.

In 2012 I moved to London to pursue a PhD in Cultural Policy and Management at City University London. Since 2013 I’ve taught at City University London, Canterbury School of Architecture, and Goldsmiths University of London.

I am currently teaching at University of Reading School of Architecture.

I am an Associate Fellow of The Higher Education Academy.

Lecturer in Architecture
SCHOOL OF ARCHITECTURE
UNIVERSITY OF READING
2017-Current

Game and Play, Activation of Public Space in San Agustin by Gabriela Cardozo (2012). Universidad Simón Bolívar
Supervisors: Victor Sánchez and Penélope Plaza

Her project integrated the ideas developed by Rodrigo Perez de Arce in his book “Materia Lúdica. Arquitecturas del juego” (Ludic Matter: Architectures of Play) to develop a ludic system of floodable public spaces based on San Agustin’s infrastructural deficiencies for channelling heavy rain water downhill. Gabriela is now working as Project and Product Design for the firm PSLAB in Beirut, Lebanon.

Game and Play, Activation of Public Space in San Agustin by Gabriela Cardozo (2012). Universidad Simón Bolívar

her work developed a catalogue of bespoke design interventions for buildings and public space to integrate third age citizens, based on Stella Choque and Jacques Choque book Actividades de animación para la tercera edad (Activities of Animation for the Third Age). Victoria went on to explore her strategies in a Long Internship Thesis project at the firm Manuel Villa Arquitectos in Bogota, Colombia.

CIPAC (CENTRE FOR RESEARCH ON ARCHITECTURE PROJECT AND CONSTRUCTION)
2009-2012

CIPAC was a departmental management unit to support and develop research projects in architecture and construction, based on the premises of integral design: social impact, technological development, environmental consciousness, comfort and functionality, searching for an understanding between design project and building. The team was comprised of teaching staff, academic collaborators, students and alumni. CIPAC was created in 2009 to work as a bridge between academia and professional practice in architecture and construction, taking advantage of the Organic Law of Science, Technology and Innovation (LOCTI) which provided tax exemptions to companies that funded technology an innovation programs at universities with the purpose of benefitting society. CIPAC activities included: research on new materials and development construction systems in partnership with public and private entities, research on new perspectives on architecture practice for the Venezuelan social and cultural context (aesthetic, formal and economic) engaging students and academic staff through the university’s Community Service Office, regular research seminar series with leading experts, and student competitions on architecture and construction. CIPAC’s research focused on four lines of enquiry: Technological development, Social Impact, Functionality, Ecology and Environmental Impact.

CIPAC intended as a more immediate goal to make significant contributions towards the reassessment of alternative building techniques using locally sourced materials, as more environmental and affordable alternatives; as well as reducing the environmental impact of concrete building.

I coordinated the First CIPAC Student Competition: Architecture and Acoustics, to design acoustic prototypes for the studio spaces of the School of Architecture (September-December 2009).

Convenor of the talk series on architecture and acoustics with leading experts in the field.

The aim of the Visual Arts and Graphic Expression II is to prepare first year students for design studio work, by exploring a diverse range of arts movements and artists, graphic expression techniques (Hand drawing, painting, Photoshop, Sketchup, CAD Drawing) and materials (textiles, cardboard, wood, metals, organic materials, mud, clay, etc). I organised the module’s workshop based teaching to combine theory and practice to take full advantage of the weekly four hour slot with mini-lectures followed by open discussion and workshop/studio work. The production of artworks by students on-site fostered peer to peer collaboration and provided opportunities for immediate formative feedback; assignments focused on the production of small scale original art work individually and site-specific artistic interventions in groups. I integrated an exploration of contemporary artists whose work challenges the boundaries between art and architecture whilst exploring issues of power and society, such as Gego, Tomas Saraceno, Doris Salcedo, Iñigo Manglano-Ovalle, Carsten Holler, Olaffur Eliasson, Tara Donovan and Yayoi Kusama. I encouraged students to discover and explore their own aesthetic and intellectual leanings and relationship with space, through deep reflection and exploration of contemporary issues through the creation of original art objects and spatial interventions.

Samples of student work.
Submissions, site specific installations.

lecturer of theory and history of architecture
universidad simón bolívar, 2008-2012

Section of Theory and History of Architecture, modules taught:

Introduction to Theory and History of Architecture.
Theory and History of Architecture I: From Pre-history to the late Roman Empire.
Theory and History of Architecture II: From the Middle Ages to the Renaissance.
Theory and History of Architecture III: From Baroque to Neoclassical Architecture
Theory and History of Architecture IV: From Eclecticism to Modern Architecture
Theory and History V: Architecture in Venezuela from Pre-Hispanic to the 1950s

I was Lecturer of the six core modules of Theory and History of Architecture, which ranged from pre-history to 1950s modernism. In contrast to the normal purely historic approach, the section had traditionally integrated small design exercises into the module’s assignments, allowing the students to see a more fluid connection between design studio processes and the theory and history sessions. I informed my teaching with my professional practice in architecture and the arts, presenting architecture as a social and cultural product, inextricable from issues of power, politics and technology, which helped students to grasp the relevance of the subject to their studio work, and their future practice as architects.